Ciudad Autónoma de Buenos Aires
Ciudad Autónoma de Buenos Aires

The extreme close-up that opens Runan Caycu is demolishing: aesthetics and ethics interlace in order to become politics. In it, farmers’ union leader Saturnino Huillca expresses, in Quechua, the anger that drives him to undertake a tireless struggle for his social claims. This opening sketches a poetic subversive portrait that incites uprising and taking a political stance. Are we or are we not with Saturnino? The rest of the film is the chronicle of these demands that illustrate a campaign that led to a friction in the always-tense relationship between country and city. In turn, the films by Grupo Chaski and Annichini expose their respective discourse on the basis of contrasting and opposing imaginaries. The iconic collective denounces the objectification of women in beauty pageants as opposed to the humble condition of the Peruvian woman from a context of paradisiac (but also precarious) characteristics in the Peruvian jungle with the broadcast of a local radio show that, between the lines, enunciates that fragile state of coexistence. Peru is still a country of survivors, these films tell us many decades later. Irrefutably, we are addressed not by a cinema of realistic appearance but, rather, by one of humanistic concerns that time empowers.

Section: Perú: Radiografía Fílmica de un País |
Saturday 18 - 16:00 h
Malba Cine
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Thursday 23 - 16 h
Malba Cine
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Year: 1974
Format: DM
Color: B&N
Minutes: 37
Seconds: 0

Team:

D, P, PE: Nora de Izcue

G: Nora de Izcue, Hugo Neira

F: Jorge Suárez
E: Mirita Lores

DA: Nora de Izcue

S: ICAIC

CP: SINAMOS, ICAIC



Contact:

Nora de Izcue Fuchs

T +51 1 221 3121

E nizcue@speedy.com.pe


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